William Wycherley in 1675.

The Country Wife is a Restoration comedy written in 1675 by William Wycherley. A product of the tolerant early Restoration period, the play reflects an aristocratic and anti-Puritan ideology, and was controversial for its sexual explicitness even in its own time. Even its title contains a lewd pun. It is based on several plays by Molière, with added features that 1670s London audiences demanded: colloquial prose dialogue in place of Molière's verse, a complicated, fast-paced plot tangle, and many sex jokes. It turns on two indelicate plot devices: a rake's trick of pretending impotence in order to safely have clandestine affairs with married women, and the arrival in London of an inexperienced young "country wife", with her discovery of the joys of town life, especially the fascinating London men. William Wycherley, cirka 1675, by Peter Cross. ... William Wycherley in 1675. ... Refinement meets burlesque in Restoration comedy. ... William Wycherley in 1675. ... King Charles II The English Restoration or simply Restoration was an episode in the history of Great Britain beginning in 1660 when the monarchy was restored under King Charles II after the English Civil War. ... -1... The Puritans were members of a group of English Protestants seeking further reforms or even separation from the established church during the Reformation. ... Molière, engraved frontispiece to his Works. ... London is the capital city of the United Kingdom and of England and is the most populous city in the European Union. ... A colloquialism is an expression not used in formal speech or writing. ... Prose blah blah blahProse generally lacks the formal structure of meter or rhyme that is often found in poetry. ... To meet Wikipedias quality standards, this article or section may require cleanup. ... Verse is a writing that uses meter as its primary organisational mode, as opposed to prose, which uses grammatical and discoursal units like sentences and paragraphs. ... It has been suggested that Elements of plot be merged into this article or section. ... Look up Sex in Wiktionary, the free dictionary. ... The Tavern Scene from A Rakes Progress by William Hogarth. ... Impotence or, more clinically, erectile dysfunction is the inability to develop or maintain an erection of the penis for satisfactory sexual intercourse regardless of the capability of ejaculation. ...

The scandalous trick and the frank language have for much of the play's history kept it off the stage and out of print. Between 1753 and 1924, The Country Wife was considered too outrageous to be performed at all and was replaced on the stage by David Garrick's cleaned-up and bland version The Country Girl, now a forgotten curiosity.^[1] The original play is again a stage favourite today, and is also acclaimed by academic critics, who praise its linguistic energy, sharp social satire, and openness to different interpretations. Portrait of David Garrick David Garrick (February 19, 1717 – January 20, 1779) was an English actor, dramatist, theatrical producer and theatrical manager, and a friend and pupil of Samuel Johnson. ... Plato is credited with the inception of academia: the body of knowledge, its development and transmission across generations. ... Satire is a literary technique of writing or art which exposes the follies of its subject (for example, individuals, organizations, or states) to ridicule, often as an intended means of provoking or preventing change. ...

Background

Charles II was fond of Wycherley "upon account of his wit".

After the 18-year Puritan stage ban was lifted at the Restoration of the monarchy in 1660, the theatrical life of London recreated itself quickly and abundantly. During the reign of Charles II (1660–1685), playwrights such as John Dryden, George Etherege, Aphra Behn, and William Wycherley wrote comedies that triumphantly reassert aristocratic dominance and prestige after the years of middle class power during Oliver Cromwell's Commonwealth. Reflecting the atmosphere of the Court, these plays celebrate a lifestyle of sexual intrigue and conquest, especially conquest that served to humiliate the husbands of the London middle classes and to avenge, in the sexual arena, the marginalization and exile suffered by royalists under Cromwell. Charles' personal interest in the stage nourished Restoration drama, and his most favoured courtiers were poets, playwrights, and men of wit, such as John Wilmot, Earl of Rochester, Charles Sackville, Earl of Dorset, and William Wycherley. Wycherley had no title or wealth, but had by 1675 already recommended himself by two well-received comedies and had been admitted to the inner circle, sharing the conversation and sometimes the mistresses of Charles, who "was extremely fond of him upon account of his wit".^[2] In 1675, at age 35 (at the time the portrait top right was painted), he created a sensation with The Country Wife, greeted as the bawdiest and wittiest play yet seen on the English stage. The two-dimensional work of art depicted in this image is in the public domain in the United States and in those countries with a copyright term of life of the author plus 100 years. ... The two-dimensional work of art depicted in this image is in the public domain in the United States and in those countries with a copyright term of life of the author plus 100 years. ... Charles II or The Merry Monarch (29 May 1630–6 February 1685) was the King of England, King of Scots, and King of Ireland from 30 January 1649 (de jure) or 29 May 1660 (de facto) until his death. ... The Puritans were members of a group of English Protestants seeking further reforms or even separation from the established church during the Reformation. ... King Charles II The English Restoration or simply Restoration was an episode in the history of Great Britain beginning in 1660 when the monarchy was restored under King Charles II after the English Civil War. ... Charles II or The Merry Monarch (29 May 1630–6 February 1685) was the King of England, King of Scots, and King of Ireland from 30 January 1649 (de jure) or 29 May 1660 (de facto) until his death. ... John Dryden John Dryden (August 9, 1631 – May 12, 1700) was an influential English poet, literary critic, and playwright who dominated the literary life of Restoration England to such a point that the period came to be known as the Age of Dryden. ... Sir George Etherege (1635? - c. ... The factual accuracy of this article is disputed. ... The middle class (or middle classes) comprises a social group once defined by exception as an intermediate social class between the nobility and the peasantry. ... Unfinished portrait miniature of Oliver Cromwell by Samuel Cooper, 1657. ... Motto: PAX, QUÆRITUR, BELLO (English: Peace is obtained by war)1 Capital London Head of State none Parliament Rump Parliament (1649-53), Barebones Parliament (1653) The Commonwealth was the republican government which ruled first England and then the whole of Ireland, the colonies and other Crown possessions during the... A royal or noble court, as an instrument of government broader than a court of justice, comprises an extended household centered on a patron whose rule may govern law or be governed by it. ... Prince Rupert of the Rhine Cavaliers was the name used by Parliamentarians for the Royalist supporters of King Charles I during the English Civil War (1642–1651). ... Courtiers follow an ancient profession. ... For other people of this name, see John Rochester. ... Charles Sackville, 6th Earl of Dorset (24 January 1638 – 29 January 1706) was an English poet and courtier, son of Richard Sackville, 5th Earl of Dorset (1622–1677). ... Madame de Pompadour the mistress of King Louis XV of France. ...

Like Charles II, Wycherley had spent some Commonwealth years in France and become interested in French drama, and throughout his short playwriting career (1671–1676) he would borrow plotlines and techniques from French plays, particularly Molière. However, in contrast to the French, English audiences of the 1670s had no enthusiasm for structurally simple comedies or for the neoclassical unities of time, place, and action, but demanded fast pace, lots of complications, and above all "variety". To achieve the much denser texture and more complex plotting that pleased in London, Wycherley would combine several source plays to produce bustling action and clashing moods, ranging from farce through paradox to satire. Molière, engraved frontispiece to his Works. ... Neoclassicism (sometimes rendered as Neo-Classicism or Neo-classicism) is the name given to quite distinct movements in the visual arts, literature, theatre, music, and architecture. ... ... A farce is a comedy written for the stage, or a film, which aims to entertain the audience by means of unlikely and extravagant - yet often possible - situations, disguise and mistaken identity, verbal humour of varying degrees of sophistication, which may include puns and sexual innuendo, and a fast-paced... Robert Boyles self-flowing flask fills itself in this diagram, but perpetual motion machines cannot exist. ... Satire is a literary technique of writing or art which exposes the follies of its subject (for example, individuals, organizations, or states) to ridicule, often as an intended means of provoking or preventing change. ...

A Restoration novelty of which Wycherley took advantage was the readiness of public opinion to accept women on stage, for the first time in British history. Audiences were fascinated to see real women reverse the cross-dressing of the Elizabethan boy actors and appear in tight-fitting male outfits in the popular breeches roles, and to hear them match or even outdo the rake heroes in repartee and double entendre. Charles' choice of actresses as mistresses, notably Nell Gwyn, helped keep the interest fresh, and Wycherley plays on this interest in The Country Wife by having the young country wife Margery Pinchwife disguise herself in a boy's outfit, without much plot motivation. It has also been suggested that he uses the allure of women on display to emphasize in an almost voyeuristic way Margery's provocative innocence, as well as the immodest knowingness of "town" wives like Lady Fidget.^[3] This articles is about cross-dressing in general, that is the act of wearing the clothing of another gender for any reason. ... A breeches role (also pants role or trouser role) is a role in which an actress appears in male clothes (breeches being tight-fitting knee-length pants, the standard male garment at the time breeches roles were introduced). ... The Tavern Scene from A Rakes Progress by William Hogarth. ... Look up Wit in Wiktionary, the free dictionary Wit is a form of intellectual humor, based on manipulation of concepts; a wit is someone who excels in witty remarks, typically in conversation and spontaneously, since wit carries the connotation of speed of thought. ... A double entendre is a figure of speech similar to the pun, in which a spoken phrase can be understood in either of two ways. ... Nell Gwyn (or Gwynn or Gwynne), (February 1650 - 14 November 1687), the most famous of the many mistresses of King Charles II, was called pretty, witty Nell by Samuel Pepys. ... Voyeurism is a practice in which the individual derives sexual pleasure from observing other people. ...

Plots

The first edition of The Country Wife.

The Country Wife is more neatly constructed than most Restoration comedies, but is typical of its time and place in having three sources and three plots. The separate plots are interlinked but distinct, each projecting a sharply different mood. They may be schematized as Horner's impotence trick, the married life of Pinchwife and Margery, and the courtship of Harcourt and Alithea. Download high resolution version (3680x5247, 102 KB)This image was scanned by the uploader from a facsimile edition (Scolar Press, Menston, England, 1970) of the first edition (1675) of William Wycherleys The two-dimensional work of art depicted in this image is in the public domain in the United... Download high resolution version (3680x5247, 102 KB)This image was scanned by the uploader from a facsimile edition (Scolar Press, Menston, England, 1970) of the first edition (1675) of William Wycherleys The two-dimensional work of art depicted in this image is in the public domain in the United... Impotence or, more clinically, erectile dysfunction is the inability to develop or maintain an erection of the penis for satisfactory sexual intercourse regardless of the capability of ejaculation. ...

1. Horner's impotence trick provides the play's organizing principle and the turning-points of the action. The trick, to pretend impotence in order to be allowed where no complete man may go, is (distantly) based on the classic Roman comedy Eunuchus by Terence. The upper-class town rake Harry Horner mounts a campaign for seducing as many respectable ladies as possible and thus cuckolding or "putting horns on" their husbands: Horner's very name serves to alert the audience to what is going on. He spreads a false rumour of his own impotence, in order to convince married men that he can safely be allowed to socialize with their wives. The rumour is also meant to assist his mass seduction campaign by helping him identify women who are secretly eager for extramarital sex, because those women will react to a supposedly impotent man with tell-tale horror and disgust. This diagnostic trick, which invariably works perfectly, is one of The Country Wife's many running jokes at the expense of hypocritical upper-class women who are rakes at heart. i rule:Forum Romanum panorama 2. ... Publius Terentius Afer, better known as Terence, was a comic playwright of the Roman Republic. ... To meet Wikipedias quality standards, this article or section may require cleanup. ...

Horner's ruse of impotence is a great success, and he has sex with many ladies of virtuous reputation, mostly the wives and daughters of citizens or "cits", i.e. upwardly mobile businessmen and entrepreneurs of the City of London, as opposed to the Town, the aristocratic quarters where Horner and his friends live. Three such ladies appear on stage, usually together: Lady Fidget, her sister-in-law Mrs Dainty Fidget, and her tag-along friend Mrs Squeamish—names that convey both a delicate sensitivity about the jewel of reputation, and a certain fidgety physical unease, or tickle—and the dialogue gives an indefinite impression of many more. The play is structured as a farce, driven by Horner's secret and by a succession of near-discoveries of the truth, from which he extricates himself by aplomb and good luck. A final hair-raising threat of exposure comes in the last scene, through the well-meaning frankness of the young country wife Margery Pinchwife. Margery is indignant at the accusations of impotence directed at "poor dear Mr. Horner", which she knows from personal experience to be untrue, and is intent on saying so at the traditional end-of-the-play public gathering of the entire cast. In a final trickster masterpiece, Horner averts the danger, joining forces with his more sophisticated lovers to persuade the jealous Pinchwife to at least pretend to believe Horner impotent and his own wife still innocent. Horner never becomes a reformed character but is assumed to go on reaping the fruits of his planted misinformation, past the last act and beyond. The trickster figure Rénert the Fox as depicted in an 1869 childrens book by Michel Rodange. ...

2. The married life of Pinchwife and Margery is based on Molière's School For Husbands (1661) and School For Wives (1662). Pinchwife is a middle-aged man who has married an ignorant country girl in the hope that she will not know to cuckold him. However, Horner teaches her, and Margery cuts a swathe through the complexities of London upper-class marriage and seduction without even noticing them. Restoration comedies often contrast town and country for humorous effect, and this is one example of it. Both Molière in the School For Wives and Wycherley in The Country Wife get a lot of comic business out of the meeting between, on the one hand, innocent but inquisitive young girls and, on the other hand, the sophisticated 17th-century culture of sexual relations which they encounter. The difference, which would later make Molière acceptable and Wycherley atrocious to 19th-century critics and theatre producers, is that Molière's Agnes is naturally pure and virtuous, while Margery is just the opposite: enthusiastic about the virile handsomeness of town gallants, rakes, and especially theatre actors, she keeps Pinchwife in a state of continual horror with her plain-spokenness and her interest in sex. A running joke is the way Pinchwife's pathological jealousy always leads him into supplying Margery with the very type of information he wishes her not to have. Molière, engraved frontispiece to his Works. ... The term upper class refers to a group of people at the top of a social hierarchy. ...

3. The courtship of Harcourt and Alithea is a conventional love story without any direct source. By means of persistence and true love, Horner's friend Harcourt wins the hand of Pinchwife's sister Alithea, who is when the play opens engaged to the foppish Sparkish. The delay mechanism of this story is that the upright Alithea holds fast virtuously to her engagement to Sparkish, even while his stupid and cynical character unfolds to her. It is only after Alithea has been caught in a misleadingly compromising situation with Horner, and Sparkish has doubted her virtue while Harcourt has not, that she finally admits her love for Harcourt. FOP (Formatting Objects Processor) is an XSL-FO processor written in Java, which provides the feature to convert XSL-FO files to PDF or direct-printable-files. ...

Key scenes

Passages from these key scenes are available at

Wikiquote

Notorious scenes in the play include "the china scene", a sustained double entendre dialogue mostly heard from off stage, where Horner is purportedly discussing his china collection with two of his lady friends. The husband of Lady Fidget and the grandmother of Mrs. Squeamish are listening front stage and nodding in approval, failing to pick up the double meaning which is obvious to the audience. Lady Fidget has already explained to her husband that Horner "knows china very well, and has himself very good, but will not let me see it lest I should beg some. But I will find it out, and have what I came for yet" (IV.iii.110). Dialogue such as this made "china" a dirty word in common conversation, Wycherley later claimed. File links The following pages link to this file: Abraham Lincoln Aristotle Ayn Rand Adolf Hitler Al Gore Animal Farm Aldous Huxley Arthur Koestler Arthur Schopenhauer Animal Albert Einstein Art Abortion Apocalypse Now Alfred Hitchcock Alexander Graham Bell Andy Warhol Afrika Bambaataa Arthur C. Clarke Atheism Arthur Conan Doyle A... A double entendre is a figure of speech similar to the pun, in which a spoken phrase can be understood in either of two ways. ... To meet Wikipedias quality standards, this article or section may require cleanup. ...

In another famous scene Lady Fidget's self-styled "virtuous gang" meet up at Horner's lodging to carouse, throw off their public virtue, and behave exactly like male rakes, singing riotous songs and drinking defiant toasts. Finally each of the ladies triumphantly declares that Horner himself is the very lover they have been toasting, and a mayhem of jealousy breaks out as they realize that their friends have also been receiving Horner's favours. But they quickly realize they have no choice but to keep the scandalous secret: "Well then, there's no remedy, sister sharers, let us not fall out, but have a care of our honour" (V.iv.169).

A scene of the Pinchwife plot that combines farce and nightmare is Pinchwife's attempt to force Mrs Pinchwife to write a haughty farewell letter to Horner, using the Freudian threat to "write whore with this penknife in your face" (IV.ii.95). Like all Pinchwife's efforts it misfires, giving Mrs Pinchwife instead an opportunity to send Horner a fan letter.

First performance

The Country Wife was first performed in January 1675, by the King's Company, at the Theatre Royal, Drury Lane. This luxurious playhouse, designed by Christopher Wren and with room for 2000 spectators, had opened only the year before. It was of compact design, retaining in spite of its large seating capacity much of the intimate actor/audience contact of the Elizabethan theater, still with an almost Elizabethan-size forestage or apron stage, on which actors would come forward for maximum audience contact. Download high resolution version (2873x3821, 254 KB)Cropped version of Image:Country Wife 1675 cast. ... The present-day Theatre Royal in Drury Lane, sketched when it was new, in 1813. ... Christopher Wren by Godfrey Kneller, 1711. ... Seating capacity refers to the number of people who can be seated in a specific space, either in terms of the space available, or in terms of limitations set by law. ... An apron is an outer protective garment that covers primarily the front of the body. ...

The original cast was listed in the first edition of The Country Wife, as was standard practice, and modern scholars have suggested that this information throws light on Wycherley's intentions.^[4] Wycherley wrote with the original actors in mind, tailoring the roles to their strengths. Also, since the audience consisted mostly of habitual playgoers, authors and directors could use the associations of an actor's previous repertoire to enrich or undercut a character, effects familiar on television and in the cinema today.

Several of the actors were specialised comedians, notably Joseph Haines who played the false-wit character Sparkish, Alithea's original fiancé. At the outset of his high-profile career as comedian and song-and-dance man, young Haines already had a reputation for eccentricity and dominant stage presence, suggesting that Sparkish is not merely a comic butt for the truewits Horner, Harcourt, and Dorilant to mock, but also a real threat to the romance of Harcourt and Alithea. Joseph Haines or Jo Haines (d. ...

Harcourt: Edward Kynaston played female roles in the 1660s.

Pinchwife was played by the elderly Michael Mohun, who was best known for playing menacing villains, such as Volpone and Iago. Mrs. Pinchwife was Elizabeth Boutell or Bowtel, a young actress who had "a childish look. Her voice was weak, tho' very mellow; she generally acted the young innocent lady whom all the heroes are mad in love with".^[5] Boutell's previous recorded roles had in fact all been unmarried as well as innocent girls, and Margery was her first married role.^[6] Matching Boutell and Mohun as a couple would emphasize "her youth and innocence against Mohun's age and violence". ^[7] The other husband to be cuckolded by Horner, Sir Jaspar Fidget, was played by another elderly actor, William Cartwright, best known for comic parts such as Falstaff. This casting suggests that Sir Jaspar was played as a straightforwardly comic part, while Pinchwife would be "alarming as well as funny".^[8] Cropped version of Edward_Kynaston. ... Cropped version of Edward_Kynaston. ... Michael Mohun (1616?—1684) was a leading British actor both before and after the 1642—1660 closing of the theatres. ... Volpone, or The Fox, is a black comedy by Ben Jonson first produced in 1606, and considered one of the finest comedies of the Jacobean period. ... Laurence Fishburne and Kenneth Branagh as Othello and Iago respectively. ... Elizabeth Boutell, née Ridley (early 1650s?—1697?), was a British actress. ... To meet Wikipedias quality standards, this article or section may require cleanup. ... William Cartwright (1611 - November 29, 1643), was an English dramatist and churchman. ... Sir John Falstaff is a fictional character who appears in three plays by William Shakespeare primarily as a companion to Prince Hal, the future King Henry V. Round and glorious, tradition holds that Shakespeare wrote the part for his second comedian, a fat man, John Heminges, who played a bold...

The male leads Horner and Harcourt were played by the contrasted actors Charles Hart and Edward Kynaston (or Kenaston). The forcefully masculine 45-year-old Hart "was celebrated for superman roles, notably the arrogant, bloodthirsty Almanzor in John Dryden's Conquest of Granada", and also for playing rakish comedy heroes with nonchalance and charisma.^[9] Many critics credit the personalities and skills of Hart and Nell Gwyn with creating, as much as any playwright did, the famous flirting/bantering Restoration comedy couple. The beautiful androgynous Kynaston, probably in his early thirties, was a different kind of hero. He had started his career in 1660 as the outstanding Restoration female impersonator^[10]—"the prettiest woman in the whole house"^[11]—before real women entered the profession in 1662. (The 2004 movie Stage Beauty is loosely based on Kynaston's career.) Charles Hart (1625 – August 18, 1683) was a British Restoration actor. ... Edward Kynaston (c. ... John Dryden John Dryden (August 9, 1631 – May 12, 1700) was an influential English poet, literary critic, and playwright who dominated the literary life of Restoration England to such a point that the period came to be known as the Age of Dryden. ... The Conquest of Granada was a play written by John Dryden and acted in 1670. ... Nell Gwyn (or Gwynn or Gwynne), (February 1650 - 14 November 1687), the most famous of the many mistresses of King Charles II, was called pretty, witty Nell by Samuel Pepys. ... If referring to a flower, see disambiguation under bisexual Androgyny is the state of indeterminate gender, or characteristics of gender. ... Movie poster for Stage Beauty Stage Beauty is a 2004 romantic drama set in the 1660s, starring Claire Danes and Billy Crudup. ...

Billy Crudup as Edward Kynaston in Stage Beauty (2004).

John Harold Wilson (Wilson 1969) argues that the famously virile stage presence of Hart as Horner must be taken into account when interpreting the play: as personified by Hart, Horner will have won women not so much through clever trickery as "the old-fashioned way", by being "dangerously attractive", and it is only fools like Sir Jaspar Fidget who really believe him harmless.^[12] Harcourt/Kynaston, although by 1675 a well-regarded and skilful actor of male roles, would clearly have been overshadowed by Horner/Hart. The actresses associated with each hero must also have tended to make the Horner plot more striking on the stage than the true-love plot: Horner's primary mistress Lady Fidget, spokeswoman for "the virtuous gang" of secretly sex-hungry town wives, was played by the dynamic Elizabeth Knepp, who Samuel Pepys declared "the most excellent, mad-humoured thing, and sings the noblest I've ever heard", talents that the famous drinking scene in Horner's lodging seems designed to do justice to. By contrast, the choice of the bit-part actress Elizabeth James as Alithea would have de-emphasized the Harcourt-Alithea plot. Such historical considerations have made modern critics sceptical of Norman Holland's classic 1959 "right way/wrong way" interpretation of the play, which positions the true-love plot as the most important one (compare section "Modern criticism" below). Screenshot from the movie Stage Beauty (2004). ... Billy Crudup in Almost Famous William Crudup (born July 8, 1968 in Manhasset, New York) is an American actor. ... Movie poster for Stage Beauty Stage Beauty is a 2004 romantic drama set in the 1660s, starring Claire Danes and Billy Crudup. ... Elizabeth Knepp or Knipp (d. ... Samuel Pepys Samuel Pepys, FRS (23 February 1633 – 26 May 1703) was an English naval administrator and Member of Parliament. ...

Stage history

Warren Beatty in Shampoo (1975).

The play had a good initial run, although Horner's trick and the notorious china scene immediately raised offense. Wycherley laughed off such criticisms in his next play, The Plain Dealer (1676), where he has the hypocritical Olivia exclaim that the china scene in The Country Wife "has quite taken away the reputation of poor china itself, and sullied the most innocent and pretty furniture of a lady's chamber". Olivia's sensible cousin Eliza insists that she'll go see The Country Wife anyway: "All this will not put me out of conceit with china, nor the play, which is acted today, or another of the same beastly author's, as you call him, which I'll go see."^[13] Writing himself into The Plain Dealer as the "beastly author" of the china scene, Wycherley seems more amused than repentant. The Country Wife did in fact survive the complaints to become a dependable repertory play from 1675 till the mid-1740s, but by then public taste had changed too much to put up with the sex jokes any longer. Its last 18th-century performance in 1753 was followed by a hiatus of 171 years, until the successful Phoenix Society production in 1924 at the Regent Theatre in London. The first-ever American performance of Wycherley's original Country Wife took place in 1931. Screenshot from Shampoo (1975), with Warren Beatty. ... Warren Beatty Henry Warren Beaty (born March 30, 1937), now known as Warren Beatty, is an American actor, producer, screenwriter, and director. ... Shampoo is a 1975 motion picture starring Warren Beatty, Julie Christie, Goldie Hawn, and Lee Grant. ... This article needs to be cleaned up to conform to a higher standard of quality. ...

During its long banishment from the stage, The Country Wife continued a shadowy existence in the form of David Garrick's cleaned-up version The Country Girl (1766), where Margery is a virgin and Horner her romantic lover. This play was very popular, going through at least twenty editions, reaching the New York stage in 1794, and surviving in both London and New York into the 20th century. The few modern critics who have read Garrick's version typically dismiss it as "sentimental and boring, where The Country Wife is astringent and provocative".^[14] Wycherley's original is now again a stage classic, with countless professional and amateur performances, an actors' favourite because of the high number of good parts it offers. The movie Shampoo (1975), with Warren Beatty as the Horner character, is a somewhat distant version of The Country Wife after exactly 300 years, reportedly inspired by the Chichester Festival production of 1969 ^[15]. Portrait of David Garrick David Garrick (February 19, 1717 – January 20, 1779) was an English actor, dramatist, theatrical producer and theatrical manager, and a friend and pupil of Samuel Johnson. ... Official language(s) None, English de facto Capital Largest city Albany New York City Area  Ranked 27th  - Total 54,520 sq mi  (141,205 km²)  - Width 285 miles (455 km)  - Length 330 miles (530 km)  - % water 13. ... A professional provides a service in exchange for payment in accordance with established protocols for licensing, ethics, procedures, standards of service and training/certification. ... The word amateur has at least two connotations. ... Shampoo is a 1975 motion picture starring Warren Beatty, Julie Christie, Goldie Hawn, and Lee Grant. ...

Critical history

Leigh Hunt admired Wycherley.

From its creation until the mid-20th century, The Country Wife was subject to both aesthetic praise and moral outrage. Many critics through the centuries have acknowledged its linguistic energy and wit, including even Victorians such as Leigh Hunt, who praised its literary quality in a selection of Restoration plays that he published in 1840 (itself a daring undertaking, for reputedly "obscene" plays that had been long out of print). However, in an influential review of Hunt's edition, Thomas Babington Macaulay swept aside questions of literary merit, claiming with indignation that "Wycherley's indecency is protected against the critics as a skunk is protected against the hunters. It is safe, because it is too filthy to handle and too noisome even to approach." Margery Pinchwife, regarded in Wycherley's own time as a purely comic character, was denounced by Macaulay as a scarlet woman who threw herself into "a licentious intrigue of the lowest and least sentimental kind". The two-dimensional work of art depicted in this image is in the public domain in the United States and in those countries with a copyright term of life of the author plus 100 years. ... An artists rendering of James Henry Leigh Hunt James Henry Leigh Hunt (October 19, 1784 - August 28, 1859) was an English essayist and writer. ... An artists rendering of James Henry Leigh Hunt James Henry Leigh Hunt (October 19, 1784 - August 28, 1859) was an English essayist and writer. ... Quotes His imagination resembled the wings of an ostrich. ...

Thomas Macaulay abhorred Wycherley.

It was Macaulay, not Hunt, who set the keynote for the 19th century. The play was impossible equally to stage and to discuss, forgotten and obscure. The puritanical George Bernard Shaw dismissed Restoration comedy wholesale as simply vile. The hugely knowledgeable drama critic Max Beerbohm tells a self-deprecating story of how he embarrassed himself on a visit to Swinburne by confusing an extremely rare Elizabethan play, The Country Wench, which Swinburne was eager to show him, with "a play called The Country Wife by—wasn't it Wycherley? I had once read it—or read something about it...." Thomas Babington Macaulay The two-dimensional work of art depicted in this image is in the public domain in the United States and in those countries with a copyright term of life of the author plus 100 years. ... Quotes His imagination resembled the wings of an ostrich. ... (George) Bernard Shaw (July 26, 1856 – November 2, 1950) was an Irish playwright and winner of the Nobel Prize for Literature in 1925. ... Max Beerbohm by William Rothenstein, 1893 Sir Henry Maximilian Beerbohm (August 24, 1872 - May 20, 1956) was an English parodist and caricaturist. ... Algernon Charles Swinburne (April 5, 1837 _ April 10, 1909) was a Victorian era English poet. ...

Academic critics of the first half of the 20th century continued to approach The Country Wife gingerly, with frequent warnings about its "heartlessness", even as they praised its keen social observation. At this time nobody found it funny, and positive criticism tried to rescue it as satire and social criticism rather than as comedy. Macaulay's "licentious" Mrs. Pinchwife becomes in the 20th century a focus for moral concern: to critics such as Bonamy Dobrée, she is a tragic character, destined to have her naiveté cruelly taken advantage of by the "grim, nightmare figure" of Horner.^[16]

Modern criticism

The past fifty years have seen a major change, and academic critics have acknowledged the play as a powerful and original work. Norman Holland's widely influential proposal in 1959 of a "right way/wrong way" reading took Wycherley's morality with innovative seriousness and interpreted the play as presenting two bad kinds of masculinity, Horner's libertinism and Pinchwife's possessiveness, and recommending the golden mean of Harcourt, the true lover, the representative of mutual trust in marriage. A competing milestone approach of the same generation is that of Rose Zimbardo (1965), who discusses the play in generic and historical terms as a fierce social satire. 1959 (MCMLIX) was a common year starting on Thursday of the Gregorian calendar. ...

Both these types of reading have now fallen out of favour; there is little consensus about the meaning of The Country Wife, but its "notorious resistance to interpretation" (Burke, 239) is having an invigorating rather than damping effect on academic interest. The play's ideological dimension has been emphasized recently. It was written by a courtier for a courtly and aristocratic audience, and Douglas Canfield has pointed to an unusual complication for a courtly play: Horner's acts of cuckolding aggression are directed not only at disrupting middle-class families of "the City", in the usual way of the aristocratic Restoration rake, but also at his own, upper, class, the inhabitants of "the Town"—the new and fashionable quarters (the future West End) that had sprung up west of the medieval City walls after the Great Fire of London in 1666. The courtier code proposed by Wycherley is of a sexual game. Eve Kosofsky Sedgwick has argued in Between Men that the game is played not between men and women, but between men by means of women, who are merely the "conduits" of homosocial desire between men. The hierarchy of wits meant that the wittiest and most virile man would win at the game. Thus Horner, as Canfield puts it, "represents not just class superiority, but that subset of class represented by the Town wits, a privileged minority that ... is the jet set identified with the Town and the Court as the loci of real power in the kingdom." The aggressive attack mounted in the china scene against the class and the generation by which Wycherley was patronized with the expectation that he would defend it (against Sir Jaspar Fidget and Lady Fidget), suggests Canfield, would only let an audience of that class laugh comfortably if Horner were punished by actual impotence in the end, which he is not. "When the play concludes with no poetical justice that makes Horner really impotent", writes Canfield, "leaving him instead potent and still on the make, the audience laughs at its own expense: the women of quality nervously because they have been misogynistically slandered; the men of quality nervously because at some level they recognize that class solidarity is just a pleasing fiction". Aristocracy is a form of government in which rulership is in the hands of an upper class known as aristocrats. ... To meet Wikipedias quality standards, this article or section may require cleanup. ... The examples and perspective in this article may not represent a worldwide view. ... The Tavern Scene from A Rakes Progress by William Hogarth. ... London, as it appeared from Bankside, Southwark, During the Great Fire — Derived from a Print of the Period by Visscher The Great Fire of London was a major conflagration that swept through the City of London from September 2 to September 5, 1666, and resulted more or less in the... Eve Kosofsky Sedgwick Eve Kosofsky Sedgwick (b. ... The term homosocial is used in sociology and denotes same-sex relationships that are not of sexual nature. ... Generally, patronage is the act of supporting or favoring some person, group, or institution. ... DVD cover Poetic Justice is a 1993 film starring Janet Jackson and Tupac Shakur and directed by John Singleton. ... Misogyny () is hatred of or strong prejudice against women. ...

Notes

Thomas Betterton (c. ... Samuel Pepys Samuel Pepys, FRS (23 February 1633 – 26 May 1703) was an English naval administrator and Member of Parliament. ...

References

• Beerbohm, Max (1920). And Even Now. London: William Heinemann.

• Canfield, Douglas (1997). Tricksters and Estates: On the Ideology of Restoration Comedy. Lexington, Kentucky: The University Press of Kentucky.

• Dixon, Peter (1996). William Wycherley: The Country Wife and Other Plays. Oxford: Oxford University Press.

• Dobrée, Bonamy (1924). Restoration Comedy 1660–1720. Oxford: Clarendon Press.

• Holland, Norman N. (1959). The First Modern Comedies: The Significance of Etherege, Wycherley and Congreve. Cambridge, Massachusetts.

• Howe, Elizabeth (1992). The First English Actresses: Women and Drama 1660–1700. Cambridge: Cambridge University Press.

• Hunt, Leigh (ed.) (1840). The Dramatic Works of Wycherley, Congreve, Vanbrugh and Farquhar.

• Kosofsky Sedgwick, Eve (1985). "The Country Wife: Anatomies of male homosocial desire". In Between Men: English Literature and Male Homosocial Desire, pp. 49—66. New York: Columbia University Press.

• Macaulay, Thomas Babington (1841). Review of Leigh Hunt, ed. The Dramatic Works of Wycherley, Congreve, Vanbrugh, and Farquhar, in Critical and Historical Essays, Vol. 2. Retrieved 6 February 2005.

• Ogden, James (ed., 2003.) William Wycherley: The Country Wife. London: A&C Black.

• Pepys, Samuel (ed. Henry Benjamin Wheatley, 1880). The Diary of Samuel Pepys. Retrieved 14 March 2005.

• Wilson, John Harold (1969). Six Restoration Plays. Boston: Houghton Mifflin.

• Zimbardo, Rose A. (1965). Wycherley's Drama: A Link in the Development in English Satire. Yale.

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External links

• Full E-text of The Country Wife